Tue09172019

Last updateSat, 25 May 2019 4pm

 

Introducing – Tools for Cinema Quality Assurance

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Cinema Test Tools for the Non-Technical Manager 

Cinema Test Tools is a free resource for the cinema industry, tuned most particularly for the non-technical manager. The tools include several DCPs, all with interesting means of testing the sound and picture quality for the interested by lightly trained staff. The lessons on sound and light are written to provide a foundation to communicate with the technician who must respond quickly and well to the information that they discover.

The key is a free Online Managers Online Walk Through Checklist that correlates with the many DCPs. It helps bring an understanding of the many nuances of the auditorium's situation in a straightforward way. 

The feet hitting the street. This is where it all plays out.

Event Cinema Association – March Newsletter

As the digital cinema equipment transition erupts anew, with the exhibitor instead of Virtual Print Fee -borne expenses of lasers and retrofits and the replacement of 10 year old equipment, it is nice to see that the Event Cinema Association is getting bigger and improving. Here's the link for the latest email:

03/01/2016 - ECA Newsletter March 2016

Dolby Vision and The Force of Darkness

When it comes to quality cinema theaters, we in Los Angeles have the luxury of choice. One example: even though laser projectors are a rarity world-wide, on the opening day of StarWars two different laser systems went online at two different style of high-end facilities. With that, we are finally able to more easily compare different technologies, and we can judge how those technologies reproduce quality when the movies weren't 'optimized' with and for that technology.   

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Lessons of Spectre and the Force (WIP)

Dolby has announced that the coming Star Wars Picture is strong with Dolby Vision and Atmos Force...a boson energy that we didn't know was required when we spent our weekly food budget on Spectre when it opened in the Dolby Cinema | AMC Prime Burbank 16 last month. 

Ouch. Caveat Emptor Dolby said. They don't control the bookings in that room and oh! by the way, a million to one goes down to the normal state of the dual-laser system of 5000:1. Oh! yes, and by the way, even though it wasn't in Atmos either, the Dolby Vision entity is a non-vectored mediating boson field that allows for the most perfect of electro-magnetic-mechanical air/photon wave and particle dissemination possible regardless of whether it has had the nuanced half-alluded-to hand wave Jedi mastering artechnology applied to the digits at all. 

I don't doubt Dolby marketing in the least now. Even though the research elves have found that xenon bulb 4K projectors have a hard time getting to 1800:1 in contrast, they have told me that most Post houses have advanced to 5000:1. In fact, let's parse what was actually said.

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The Spectre of Vision

This weekend brings back Spectre and it is said to be terrific. It should be all the more terrific since it is playing at a local Dolby Vision cinema, an AMC Prime auditorium – The Burbank 16.

It is not a huge room, nor a huge screen. But it is a huge amount of light being thrown across the distance of 16 rows of executive plush leather seats by a couple of souped up Christie built laser projectors, then splashing onto a low gain white screen. Manufactured by Christie, but the secret sauce is all Dolby.

The measured brightness is set for 106 candela per square meter (cd/m2), a term which is often called 'nits' in the biz. (If you want the deprecated term of foot-lamberts, divide by pi. ) [edit: We have later been told that the translation from foot lambert to candela per meter square should be on the high side – that is, the dual laser system is putting out 108 cd/m2. The low-gain white screen is critical since the opposite (high-gain and/or high-gain and spray-painted aluminum flakes, often called 'silver screens') is notorious for having extremely out of spec hot spots and poor smoothness and dim contrast and horrid vignetting of both darkness and color shift. . . not talked about much since one doesn't like to pi. . . well, one doesn't like to do a lot of things that make associates look bad. . . OK. . . associates looking bad might be OK or not OK, but you don't want clients looking bad, and high-gain screens was one solution for many clients with Dolby 3D systems.  

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Outside Researched Views Immersive

Randi Altman writes in the 2nd part of her post IBC wrap up about Immersive sound at: IBC 2015 Blog: audio offerings - postPerspective - Randi Altman's postPerspective

There are several good nuanced points in what she writes. But there is a point that anyone with even a decade of Entertainment Technology experience will notice. There is quite a bit of cross purposes which should not be ignored whenever reading blanket statements about what world leading facilities want. Ignoring what they say and watching what they do has more value. 

The opposite of a single homogenous fully integrated everyone-gets-a-sandbox-I'm-never-left-in-the-cold-standardized-system is Nothing is Special. Some companies will spend money to be Special.

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